{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","id":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","uuid":"4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title":"Bodies in code  interfaces with digital media","normalized_title":"bodiesincodeinterfaceswithdigitalmedia","author":null,"edition":null,"publisher":null,"year":null,"isbn":"0415970164","isbns":["0415970164","0415970156","9780415970167","9780415970150"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":348,"navigation_url":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","title_url":"https://workshop.closeclaw.top/ai/title/Bodies%20in%20code%20%20interfaces%20with%20digital%20media","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53","page_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/page","search_url":"https://workshop.closeclaw.top/api/ai/books/4f7053d9-6508-49c8-9dd8-ec4dc5dadd53/search"},"page":{"printed_page":264,"pdf_page":277,"physical_index":277,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"879e3f9931ab37dceaad009ab37cb9b070d2caef475f7f4f2a123ac95a041666"},"chapter":"bodies in code","content":"Nonetheless, his perspective is explicitly motivated by a concern with contemporary technics. Thus he cites the need for our culture to\n\nset limits ... on the gigantic scale of scientific projects and economic enterprise, on the invasion of the private sphere by the media of mass communication, on the compulsion endlessly to break records at the cost of over-training and drug-taking, on the ambition always to go faster and further and to spend more ... on the need to produce everything of which we are technically capable even when that means creating mechanical, architectural or biological monstrosities ... and the threat posed by technological advances to the integrity of the human body and to spiritual freedom, to the natural reproduction of human beings and to the survival of the species. (6–7)\n\nxxxii. As Anzieu explains, this distinction between a passive and an active protective shield goes back to Freud's 1895 Project for a Scientific Psychology; more specifically, it corresponds to Freud's distinction between contact barriers and the protective shield. See Anzieu, 71ff. I analyze the technical basis of this Freudian distinction and of its development from the Project to the “dead cortical layer\" of Beyond the Pleasure Principle, in Embodying Technesis: Technology beyond Writing, Chapter 6.\n\nxxxiii. See Olalquiaga, Celeste. Megalopolis: Contemporary Cultural Sensibilities. 2. I return to Olalquiaga's analysis in Chapter 2.\n\nxxxiv. According to Anzieu,\n\nThe specific instinctual cathexis of the muscular apparatus and therefore of the second skin is provided by aggressiveness (whilst the first tactile Skin Ego is cathected by the attachment, clinging or self-preservation drives): attack is an effective means of defense; it means taking the initiative, preserving oneself by keeping the danger at arm's length. (195)\n\nxxxv. Per Brian Massumi's recipe for creating experimental nonvisual hypersurfaces. See Massumi, 2002, 191-192.\n\nxxxvi. The installation, Couchot explains,\n\nestablishes between the image-body and the spectator a sort of tactile and visual dialogue, without any other language than that of the body.... the spectator is not invited to retrieve [retrouver] the presence of the body of the artist.... On the contrary, she is invited to give life to this body in animating it with her own body. (50)\n\nNOTES\n\n264","previous_page":263,"next_page":265}